ART BRUSSELS | FOR A LANGUAGE TO COME: Booth 6A-08

Winner of the Prix SAM 2023 for contemporary art, finalist for the Prix Marcel Duchamp in 2020, Alice Anderson's artistic practice lies at the intersection of spirituality and technology. Anderson forges a unique language through her performances of the power and intelligence of the body, alone and collectively, dancing with objects and spaces. From these intuitive, gestural Technological Dances, in which the performer poetically reactivates the strong link between the human and the nonhuman, large-scale paintings are born. Computers, drones, batteries, virtual reality masks (etc...) are coated in paint, leading the artist into a dance of hyper-ventilated breathing that guides her into a trance, where objects animated by repetitive movements generate points of impact on the canvas on the floor. These technological objects, memorized on the canvas through painting, are then assembled and crystallized with copper-colored wire - a material symbolizing neuronal and technological connections - to become sculptures. Alice Anderson's monumental sculptural work Spiritual Machines, an ensemble of technological tools crystallized in this way, was created over a period of ten years and memorizes the objects of the Anthropocene era. The title Spiritual Machines refers to the book The Age of the Spiritual Machines, published in 1999 by artificial intelligence pioneer Ray Kurzweil.  Anderson has recently exhibited at the Stedelijk Museum, Centre Pompidou and Atelier Calder, among others.

In a set of 5 photo-drawings of her installation at the Pyramids in Giza in 1996, Lita Albuquerque layers graphs, symbols, honeycomb structures and a replica of the map of the stars she created in situ for her Sol Star desert performance for the Cairo Biennial, where she represented the United States and won first prize. Albuquerque is a canonical female Land Artist known for her use of pigment in her large-scale, site specific ephemeral works. She was recently included in Groundswell - Women of Land Art at the Nasher Sculpture Center, and the Light & Space exhibition at Copenhagen Contemporary, and held a solo show at La Patinoire that brought her Land Art indoors for the first time in Europe. 

In D’après nature, Renaud Auguste-Dormeuil has created a series of painted postcards that overlay nostalgic iconography with unforeseen disaster. He uses found historic photographs and engravings of monuments that he manipulates to insert a record of fires that devastated the sites in subsequent years. The repetition of his process for the treatment of the various locations extends into an immersive language evoking derridean hauntology — “time is out of joint” — and an unsettling historiography of triumph and catastrophe. Auguste-Dormeuil is laureate of the Prix Meurice pour l'art contemporain, a former resident of the French Academy in Rome and has exhibited at Villa Medici, MACRO, Palais de Tokyo and others. 

* Takuma Nakahira, For a Language to Come, 1970 Fudo-sha, Tokyo